درخت حوزه‌های تخصصی

The ability to recognize and compare shapes and understand the concept of proportions is one of the first human findings from environmental geometric data. And certainly the formation of geometry as a science of recognizing the arrangement of lines, shapes and levels and proportions leads to the definition of golden proportions in the mathematical sciences as a new way of organizing shapes and forms. Golden and geometric proportions are effective as a determining element in the scale of spatial forms, and the formation of spatial forms by not using or misuse of geometric proportions is due to functional and psychological interactions on human perception and cognition. Which causes the construction and formation of scales and proportions of the environment and the emergence of psychological effects due to human activities in the environment. And then the abnormal effects and environmental dysfunction on the saccade system of the human eye and as a result the feeling of fear and lack of belonging to the place interacts. On the other hand, nature as the raw material of creation, and the principle and mother of man, which causes him to model the proportions in nature. Understanding the laws governing the relationships between elements and spatial shapes leads to the formation of geometric and golden proportions in the spending of space. Because knowing the symbol of shapes, proportions and scales in the world of meaning and kingdom is reminiscent of the divine order in all dimensions of the world (even in astronomy). Therefore, evaluating the values ​​of spatial proportions in nature as the bedrock of human life and the pattern of psychological perceptions, leads to the adoption of human activities. Also, the study of human needs on a mental and psychological scale from the perception of the environment causes the recognition of scales and dimensions by human visual senses, which leads to the perception of the correct golden and geometric proportions through Sakadi eye movements and psychophysical sciences. . Certain ratios can also be observed in the creation and design of various shapes in nature. These relations are those geometric relations that have immaterial roots and follow the spiritual and supernatural principles, believing that their subject is sacred, and have a symbolic language and spiritual characteristics. In the traditional world, geometry was inseparable from the other four Pythagorean sciences, namely arithmetic, music, and astronomy. And traditional geometry is also associated with the symbolic composition and shapes of space. To this end, the study of the effect of golden and geometric proportions on human visual perception of the architectural environment based on the sense of belonging to the place, causes visual quality to increase the sensory richness of the place and achieve human values ​​and criteria in the sense of belonging to the place and human needs. To be considered by the architect. In this research, with the perspective of this identity and the interaction of geometric and golden proportions and the sense of belonging to the place, the criteria and indicators of the research have been studied and the results have been presented in the form of tables and diagrams.

In recent years there has been a growing interest among historians, historical martial artists, reenactors, and those who are interested in Eastern culture as well as in Persian offensive and defensive weapons to have a more detailed study of armor. The change in the paradigm of defensive weapons throughout Western Asia (the last quarter of the 15th to the first quarter of the 16th century) has not yet been fully investigated. Reconstruction of mail-and-plate armor from a period between 1540-1650 CE is quite challenging as most museums or major private collections do not have a complete set. Based on a detailed study of existing sets of joshan armor and several technical assumptions related to the design of this type of armor, the present study tries to reconstruct a fully protective complex of a joshan armor that was worn by a noble Persian warrior. The purpose of the following article is to reproduce a Persian mail-and-plate armor from a period between 1540-1650 CE in its original size and design with its inherent properties and qualities. Different existing sets of this type of armor from museums are studied and compared to different miniatures and literary sources. Based on the collected information gained from theoretical and practical research, the article presents a historical armor design and provides advice on the practical reconstruction and production of such a set of armor. Armor masters were looking for the best combinations and ratio of plates and mail armor in one set. They were experimenting with the shapes and sizes of plates, the number of holes, diameters, geometry, and method of ring interconnections. Characteristic of the armor of this period is rather large plates and a small number of their rows (3-5 rows on the chest/back), a small overlap of the plates in a row, basically only the same standard plates are used, large mail rings (inner diameter about 10 mm).

Nowadays, with advanced technology and information, the attention to national and religious culture and ritual has faded, so the lack of collective cultural-ritual spaces based on the correct principles of architectural wisdom is considered as a problem in today's world of speed and technology. The goals of the research are to improve sociability through the analytical analysis of Iran's historical buildings in order to read the effective components in the architecture of collective-ritual spaces based on the wisdom of Islamic art and architecture. The research method is in the form of case studies and logical reasoning and analysis of the content of fundamental principles and concepts, which in the case examples of social arenas from the perspective of the teachings of architectural wisdom in which national and religious rituals are held and a comparative study The factors of each were done in the form of tables; In the following, by adapting the arguments and relational analyzes of anthropological and epistemological discussion in the results of the research, it was shown that the fundamental principles and concepts in architectural wisdom are the result of focusing on rules and precise theorizing and are formed according to the culture of the people. And on the basis of basic needs assessments, it reduces discussions involving duality and difference of opinion. In addition to the semantic dimensions, components with physical-spatial aspects were extracted in an understandable way for the users, whose strategy and solutions will lead the way in improving the sociability of collective-ritual spaces.

The study of the elemental composition of silver coins minted in the Tabriz during the Qajar period can help to investigate the socio-economic situation of that period. In this case study, Proton- Induced X-ray Emission (PIXE) analytical technique has been applied to twenty-eight Qajar silver coins selected from a private collection. the purpose was to study and investigate the changes in silver elements in Qirans of Nasser al-Din Shah Qajar in Tabriz mint. The metallic elements Ag, Cu, Fe, Pb, and Au were observed. The results show that the content of Ag the main constituent of the coins varies from 90.07 to 82.88%. this significant variation in the content of the major constituent reveals the economic difficulties encountered by the dynasty. The results, which are shown by using the PIXE technique, brought to light valuable information about the economy of the period under study.  

Coins are engraved metals like books full of historical, cultural, religious, and mythological information. They are also like written documents that can be analyzed through their motifs through symbolism, and they are the most important guide for researchers in recognizing and familiarizing themselves with religious beliefs in different historical periods. Therefore, studying the images and symbols on them opens a window to ancient periods for researchers. Due to its long reign, the Parthian is one of ancient Iran's most important critical periods. They minted many coins with various motifs. One of the symbols used is the pattern of a palm branch, which from the time of Phraates II can be seen as the reverse of the drama and tetradrachm coins of the Seleucid Mint. This study has investigated the symbol of palm branch in coins of Phraates II in the Seleucid Mint to realize political goals. These coins are kept in Reza Abbasi Museum in Tehran (Iran) and were purchased through private collectors. In this study, 250 Parthian coins were examined, among which 60 coins had palm motifs. The palm branch is considered a mythological plant common between Mesopotamia, and Greek. Parthian king, the branch palms were used as symbols for victory, under the cultural influence of the Seleucid and Mesopotamia.

Sasanian Empire was one of the most powerful periods in ancient Iran. Archaeological evidence and traces, and Sasanian and Post-Sasanian texts show cultural and artistic relations of the Sasanian Empire from the East to the West. However, official Sasanian methods of warfare are one of the most important legacies of the period that have been less studied. These offensive and defensive arms and armor can be analyzed by looking at remaining evidence left by kings and officials within the national borders to the lands abroad. Sasanian swords are depicted on rock reliefs, silver dishes, and coins (drachmas and dinars). Although studies have been done on the classification of Sasanian swords shown on rock reliefs, no systematic study on the depiction of Sasanian swords on Sasanian drachms has been done so far. The following paper tries to restudy the subject by comparing the swords depicted on Sasanian coins and compare them to the swords shown on rock reliefs and dishes. Sasanian swords are depicted on different Sasanian royal arts such as Sasanian coins, Sasanian silver dishes, and Sasanian rock reliefs. Different elements will be taken into consideration such as the shape of swords in general and their method of hanging from the belt in particular. A closer look shows that Sasanian drachmas and dinars show two major types of hanging Sasanian swords via a scabbard slide system: A. hanging the sword in front of the body. B. hanging the sword on the left or the right hip. Additionally, the following paper will compare them to some extant examples of Sasanian swords that are kept in museums and private collections.